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THE 



ART OF GRAINING: 

HOW ACQUIRED AND HOW PRODUCED. 



DESCRIPTION OF COLORS 



AJJD 



THEIR APPLICATIONS. 

WITH 

LITHOGRAPHIC ILLUSTRATIONS 

OF 

THE VARIOUS WOODS USED IN INTERIOR FINISHING. 



WITH 42 COLORED PLATES ON STONE. 



BY 

CHARLES PICKERT and A. METCALF. 



NEW TOKK: 
D. VAN NOSTEAND, PUBLISHEE, 23 MUEEAY AND 27 WAEEEN STEEET. 

1 872. 



14 



Entered according to Act of Congress, in the year 1872, by 

CHARLES PICKERT and A. METCALF, 

in the Office of the Librarian of Congress at Washington. 



INTRODUCTION 



The Art of Graining is judged by the authors of this treatise to be of 
sufficient importance to justify a work devoted especially to the task of 
giving instruction to learners of the art. 

All graining is an imitation of some more or less well known wood, 
and the learner may doubtless draw from nature the copies he desires to 
imitate ; but it is only trained skill that can accomplish the task perfectly, 
and it is presumably true that those who, in acquiring a long experience, 
have made the obstacles to success a special study, are best prepared to 
afford instruction to a beginner. 

The authors of the work present here the result of a long experience in 
the practice of this decorative art, and feel confident that they hereby 
offer to their brother artisans a reliable guide to improvement in the prac- 
tice of graining. 

It is earnestly recommended by the authors that learners should prac- 
tise drawing the several copies given as samples, with drawing pencils, 
using both narrow and broad-pointed, as the surest means of acquiring such 
thorough mastery of proper manipulation as will insure the highest degree 
of success. 

It is believed, moreover, that experienced learners will find it not 
amiss to avail themselves of the methods set forth in this treatise, affording 
as they do, the sum of the examples of fellow-artisans who have carefully 



4 INTRODUCTION. 

studied nature's own modes, and have studiously followed such plans in 
working as insured the closest and most durable adherence to the original 
form and color. 

CHARLES PICKERT, 
A. METCALF. 



INSTRUCTIONS 

HOW TO MIX AND APPLY THE COLORS IN GRAINING 
THE VARIOUS WOODS HEREIN REPRESENTED. 



As oak and black walnut are the principal woods imitated in grain- 
ing, we have given them a prominent place and careful attention in our 
work, for when the ability to produce imitations of those properly is once 
thoroughly attained, the graining of other woods becomes a comparatively 
easy task. 

First. 1 — In preparing work for graining, great attention should be 
given to the shellacking of all knots and other parts containing any ine- 
qualities of surface, whether from the exudation of pitch, gum, or other 
substance ; unless this precaution is observed the pitch or gum will force 
itself through a great many coats of paint. 



THE ART OF GRAINING. 



OAK. 

For oak-graining the priming coat should be white, mixed (not too 
thickly) with pure lead and linseed-oil ; then, when thoroughly dry, and 
ready for a second coat of paint, much care should be observed in well 
stopping or puttying with white lead or common putty, as may be thought 
best, leaving all nail-holes or other inequalities well filled, pressed in and 
rounded up, so that when thoroughly sand-papered it will leave the sur- 
face entirely smooth and level. Tor a second coat of paint, a little yellow 
chrome or Rochelle may be added, sufficient to make it a light cream color, 
using for a body pure lead, turpentine, oil, and a small quantity of japan, 
making the paint a trifle thicker than the priming coat, having it well 
mixed and strained, so that it shall not contain any lumps or foreign 
substance. Here let us say that the habit of undertaking to do graining 
work on two coats of paint is entirely wrong ; good work cannot by any 
possibility be performed unless there shall have been at least three coats 
laid on as a foundation, — otherwise it will not wipe out clean, but will 
appear muddy and foul when completed. 

For a third coat of grained work, if a very light oak is desired, add 
to the same mixture of lead, oil, etc., sufficient yellow as before, to produce 
a delicate cream, adding to that a very small quantity of American vermil- 
ion, or Venetian red. After laying on the second coat, the work should 
be well and carefully sand-papered, puttying (as before suggested), if 
necessary. When the third coat has been on two or more days, and has 
become thoroughly hard and dry, use upon the surface very fine sand- 
paper, so that a perfectly smooth finish may be obtained. 



THE ART OF GRAINING. 7 

For light-oak graining-color, use equal parts of raw umber and raw 
Sienna, and if a little darker shade is desired, tone with burnt umber, 
grinding into the same a little Paris, or common whiting, which gives it 
body and holds it together. A little beeswax or brown Windsor soap 
dissolved in turpentine may be used if desired, but in a small quantity. 
For mixing the colors employ one-fourth boiled oil, three-fourths 
turpentine, adding for drier a very little japan. Graining-colors should 
invariably stand from six to ten hours after mixing before being applied, 
and if too thick, when adding the thinners be cautious to avoid stirring 
from the bottom. The colors should be mixed to such a consistency, that 
when put on, a perfectly clear and transparent appearance may be obtained. 
For darker shades of oak, more yellow and red should be used in the 
ground-work and more burnt umber in the graining-color, adding enough 
of the burnt umber to make the graining-color harmonize with the ground- 
work. And here we would suggest that every grainer, who desires to 
perfect himself in the art, should procure small pieces of the various kinds 
v of wood he wishes to imitate, and in all cases mix his colors in harmony 
with those shown in the wood — mixing his ground-work so as to compare 
with the lightest shade observable in the wood. 

Too much care cannot be taken in the preparation of graining-colors ; 
more failures have been made through neglect of this, than in the execu- 
tion of the work itself, for except the colors are in proper harmony with 
the wood desired to be imitated, the work, though well executed, must 
be a failure in the production of the wished-for object. 

For the last coat of the ground-work for oak, there should be a suffi- 
ciency of oil to impart a slight glcss when laid on, which enables it to be 
wiped clean, free, and unclouded. 

For shading oak use a little raw Sienna, raw and burnt umber, mix- 
ing with oil, turpentine, japan, etc., as before mentioned. Where knots 



8 THE ART OF GRAINING. 

or curls occur in the grain, as shown in our illustration, there light and 
careless shades should be thrown in, avoiding anything prominent or 
harsh, and in most cases make the growth or heart slightly darker than 
at the edge. A beautiful effect can be produced by combing over the 
flaking with a fine or coarse rubber comb, blending very lightly in the 
same direction the veins or comb take. The effect produced is to sink 
the flaking, making it look solid and true to nature. 

For wiping out oak (as in samples shown), see description of pro- 
cess in our following chapter on black walnut, using the same tools, etc. 
(rubber combs, English or American steel combs in oak, not in walnut). 
Where flaking is done it is combed first with a coarse, then a fine steeL 
comb, but where heart or growth-pieces occur, no comb should be used 
until wiped out, then comb with a fine comb very lightly in the same 
direction the grains may run. 

In graining, particularly oak, care should be taken to have the 
grains lose themselves regularly at the sides, not leaving the heart-piece 
abruptly, but gradually (as shown in our illustration), preserving a proper 
harmony of colors from centre to outside. 



\ 



THE ART OF GRAINING. 



BLACK WALNUT. 

The same care should be taken in puttying, sand-papering, mixing, 
and applying, as hereinbefore suggested in the chapter upon graining 
oak. 

The ground-work for black walnut should be mixed with pure white 
lead, turpentine, oil, japan, etc., colored with chrome yellow or good 
Rochelle ochre, American vermilion, or English Venetian red, and burnt 
umber, which if properly combined produces the most proper ground- 
work attainable. This wood varies in color, some pieces bearing upon the 
yellow, and others upon the red, either of which may be correctly 
imitated by adding yellow or red as the case requires. There are some 
pieces, however, of a grayish cast, and if such a characteristic is desired 
in graining, add to the ground-work a little Vandyke brown. 

The ground-work (last coat) should be so mixed as to have, 
when dry, an egg-shell gloss, in order to prevent the first coat of 
graining (which is " distemper-color") from crawling or running together. 
Black walnut is a very porous wood, and unless the pores are properly 
shown in the graining, the imitation will be far from perfect ; no grainer, 
therefore, should depart so far from nature as to omit this necessary and 
absolute consideration. 

For the accomplishment of a correct imitation in this respect, take 
a small quantity of sour or common ale, or, if not obtainable, a little 
vinegar and water (equal parts) will do (urine is an excellent substitute 
for either of the liquids named), and to this add, for coloring purposes, 
three-fourths burnt umber and one-fourth Vandyke brown ; when this is 



10 THE ART OF GRAINING. 

applied, and before dry, take a dry brush (a flat one is preferable), and 
" whip " the color thoroughly with the same, keeping the hand close to 
the surface of the object to be grained ; and as pores in some pieces of 
walnut show far more distinctly than in others, to imitate this, certain 
portions should be whipped very coarsely, while other portions should be 
whipped very fine. Care must be taken in whipping, to have all joints, 
etc., left perfectly square as constructed, and the whipping should invari- 
ably be done as the grain of the wood is designed to run. The distem- 
per-color should be mixed to a thickness, that, when applied and properly 
whipped, the general tone of the ground-work shall not be materially 
changed. 

Some grainers, before proceeding further in graining black walnut, 
have varnished the distemper-coat ; we regard this as entirely useless, as 
well as detrimental to the general tone of the graining when done. The 
impression current among some painters, that when the graining-color is 
applied to the distemper-color, without first varnishing, it (the distemper- 
color) will rub up, is erroneous, for when perfectly dry it is all ready to 
receive the graining-color. 

After complying with the foregoing directions, the article being now 
all ready for graining, having, as shown, received the distemper-color, 
take three-fourths burnt umber and one-fourth Vandyke brown, mixed 
with three-fourths turpentine, one-fourth oil and japan, using beeswax or 
soap to prevent its running as in oak-graining (of course the color must 
be varied to comply with the ground-work by adding burnt umber, Van- 
dyke brown, or burnt Sienna, as hereinbefore set forth in our directions 
for oak-graining), and to avoid darkening the graining but a very little, the 
color should be used thin. 

In graining a panel, for instance, in order to obtain a correct imita- 
tion of black walnut, the grainer, when running the heart-piece (as shown 



THE ART OF GRAINING. 11 

in our illustrations), should have upon his pallet, glass, or board, a small 
quantity of umber and Vandyke brown to darken the centre a little, 
thereby showing the grains perfectly clear in the centre while they lose 
themselves near the outer edge.- 

In graining black walnut, combs should be used as little as possible, 
leaving all the plain parts to be finished in the glazing. For wiping out 
growths, some use chamois, others use cotton cloths drawn closely over 
the thumb nail, while many use in place of either, a small piece of rubber, 
or belting cut about one-fourth of an inch wide at the end used, and in 
some instances, where a cheap job of graining is desired, rubber combs cut 
fine and coarse can be used with good success in running growths or hearts 
by blending lightly after combing. 

This brings the work up to a finishing, or shading point, for which 
purpose use principally Vandj'ke brown, burnt umber and ivory-black, 
mixed with oil, turpentine, etc. (as hereinbefore named), and by keeping 
upon the board, glass or pallet, a little of these separately, and using 
more of one than the other, a beautiful and correct variety can be pro- 
duced, it being almost impossible to find two pieces of walnut exactly 
alike in shade. Like the rest, shading must be applied with a brush, and 
where crooks, curls, or knots in the grai ) may appear (see illustratio is), 
careless and light shades should be thrown in, and in the greater number 
of cases cause growths a trifle darker than edges. For shading the plain 
parts, a fine and very proper effect will be produced by first applying the 
color and then by laying on a flat brush, pressing it heavily, and drawing 
it crooked or straight as desired, then by blending the same very lightly. 
Where the brush is not thus used, a similar effect can be produced by wip- 
ing out lines at small intervals, then blending, in all cases avoiding the too 
common error of putting too much work in the graining, and preserve a 



12 THE ART OF GRAINING. 

proper harmony of colors so that when completed the work will appear 
rich, clean, and finished. 

All graining can be finished by varnishing, or to imitate in "oil- 
finish " if preferable. Should the latter be desirable take one (1) quart 
of turpentine ; one-fourth (I) lb. of white wax (melted in turpentine), 
adding one half (2) pint of best coach varnish (hard drying) ; one half 
(2) pint of boiled oil, and one (1) gill of japan — apply with a brush, and 
use sparingly, one coat is sufficient. 

By conforming to our directions, in the graining of black walnut, 
great and satisfactory results will follow. 



TIIE ART OF GRAINING. 13 



ROSEWOOD. 

Iu preparing work for rosewood the same instructions should be 
followed as are laid down in the preceding remarks upon the graining, 
etc., of black walnut, for the ground-work of both woods is formed of 
the same colors, only more of the red and yellow is used for rosewood 
than walnut, as the former varies more in tone between red and yellow. 
The same rules in both cases should be conformed with, and similar tools 
in applying or laying on are used. In preparing ground-work for rose- 
wood, however, a little rose pink may sometimes be employed advantage- 
ously. Of course the egg-shell gloss must be attained after the third 
ground-work is laid on, in order to receive the whipping-coat properly. 

Pores in rosewood being very fine, the whipping should be as fine 
as possible. The distemper color is made from burnt umber, a very little 
Vandyke brown, and a small quantity of rose-pink, ground in ale, or 
vinegar and water, etc., as before mentioned, and applied very thin. The 
first coat of graining is mixed from Vandyke brown, burnt umber, and 
ivory-black (though mainly from the former), ground very fine in oil, tur- 
pentine, wax, etc., and must stand after being mixed for some six hours 
before applying. In some cases, where a reddish cast is desired, it will be 
well to use a trifle more of the rose-pink. 

As the grains in rosewood run very irregularly (see illustration), 
great care must be maintained in combing, it being necessary in most 
cases to employ extremely coarse and fine combs ; and at times it may be 
absolutely necessary to use a pencil, in bringing up this imitation to per- 
fection, and all of the combing and pencilling must be blended down very 



14 THE ART OF GRAINING. 

softly with a fine badger blender. For the glazing, the same colors may 
be used, though chiefly Vandyke brown and ivory-black, making the dark 
places principally from the latter, though, of course, all of these colors are 
to be made exceedingly thin and as transparent as possible. 

Where a particularly rich finish is desired, a good effect will result by 
giving the work another extremely thin coat of glazing, composed of rose- 
pink with a little ivory-black, thus sinking and harmonizing the whole 
work, giving it a rich and very fine appearance. When the work becomes 
thoroughly hard and dry, it can be finished either in varnish or oil, as 
heretofore mentioned in the finishing of black walnut. 



THE ART OF GRAINING. 15 



MAPLE. 

This, though a very beautiful wood, is not as commonly used in grain- 
ing as some others, though a fine effect can be produced by graining 
panels, etc., in rooms where the principal graining may be black walnut, 
oak, or rosewood, forming thus a contrast, which, when well executed, 
presents an extremely fine appearance, and as maple is never used for an 
outside finish (therefore not being exposed to the weather), it can be 
grained more successfully in distemper than in oil, and also much more 
readily, the consequence of which is, we shall speak of it as being grained 
only in distemper color, though the same colors, used by a skilful hand, 
in oil, will produce the same beautiful effect. 

The ground-work for maple is made from white, tinted with chrome 
yellow, making the very lightest cream, and the same rules as to mixing, 
laying on, etc., etc., are applicable to the graining of maple as to the other 
woods hereinbefore mentioned, viz., walnut, oak, and rosewood. 

The graining color is made from raw Sienna and a little raw umber, 
not far from equal parts, and ground fine in ale, etc., as before laid down 
for distemper colors. By rubbing the ground-work upon which all dis- 
temper colors are laid, with a damp sponge, it will be found to take the 
color much more readily than when not so rubbed. 

The tools necessary for the graining of maple arc a badger-hair blend- 
er, two or three top, or over-grainers, varying in width ; and in running 
of heart-pieces, pencils must be used. For making the curls in curl}- ma- 
ple, there can be nothing better than a raw potato, cut, say two or three 
inches wide, with a thin, straight edge, although the work can be perform- 



16 THE ART OF GRAINING. 

ed by using a piece of rubber, or belting, with a similar straight edge. A 
flat camel's-hair brush, used wet, will accomplish the same, and for this 
purpose it is employed quite successfully. 

In forming the bird's-eyes, a potato cut in two, near the centre, with 
various inequalities made upon the smooth surface, and carelessly pounced 
over the surface of the work, will pi-ove successful ; but we know of nothing- 
better adapted for this purpose than the ends of the fingers, touching the 
surface therewith at intervals. (See samples.) 

After a thin coating of the distemper is laid on, for the production of 
curly maple, take a potato, or some one of the other things spoken of, and 
form the curls by running it crosswise, making them as irregular and care- 
less as possible, then blend them down to a perfect harmony, after which 
pounce the same with the end of the blender as softly and finely as possi- 
ble, as the pores in maple are nearly indistinct. After allowing this to dry 
thoroughly, if a heart or growth is desired, run the same with a pencil as 
before mentioned, or form the grains by taking the over-grainer, touching 
it in the color (having combed the grainer before being touched in the 
color): then run it down over the work, holding the hand near the work; 
then blend those also carefully, and, especially in maple, avoid anything 
harsh or stiff in the color, or the running of the grains, as maple, when 
completed, is a very light and transparent wood. Where bird's-eye-maple 
is desired (after the thin distemper color has been used), take the damp 
sponge and roll it carelessly over the surface, which will remove a portion ; 
then blend softly as in forming the curls, after which, and before it is al- 
lowed to dry, form the bird's-eye with a potato or fingers, as before men- 
tioned, in those parts where the color has not been removed ; then, when 
entirely dry, form the grains either with a pencil or a grainer, as set forth 
in directions on curly maple. Care should be taken to have the bird's-eyes- 
shaded (as per illustration), thereby making them natural and complete. 



THE ART OF GRAINING. 17 

After complying with the foregoing instructions, the work is ready for the 
varnish, and in most cases will be found satisfactorily finished, though 
it can be materially improved by first giving it a very thin coat of varnish, 
then a very thin glazing coat of the same colors, though principally of Sien- 
na, forming curls, shades, etc., where they may have been omitted, or will 
be found to improve the work. You will observe in our illustrations that 
the grains of maple, both bird's-eye and curly, are entirely different from 
those of any other kind of wood, both in course and formation. In all 
cases the illustrations herein given must be followed as closely as possible, 
which, if properly complied with, will, in all cases, produce the desired 
result. If desired to be grained in oil, combs should be used instead of top, 
or over-grainers. 

In connection with maple, we would here say that there is such a wood 
as satin-wood, but it is rarely used in any manner. 

If, however, it should be desirable to grain it, it will be found that the 
colors used in graining maple (raw Sienna being the chief material) are 
the same as those used in the graining of satin-wood, and the process varies 
in no essential manner, only that the colors and graining should be more 
indistinct with satin-wood, it being an extremely pale and transparent 
wood. Care must be observed to preserve in the imitation the purity and 
character of the original. 



18 THE ART OF GRAINING. 



ASH, 



A very beautiful and prolific wood, attainable so easily throughout 
the greater part of the country, is now growing in daily favor for the in- 
terior of houses and other buildings, its susceptibility of high finish mak- 
ing it desirable as well as handsome, and probably when well grained it 
presents more attractiveness than any of the other woods. 

Grainers, therefore, should become skilled as far as possible in the imi- 
tation of this brilliant and durable wood, and it seems our duty to call 
especial attention to our illustrations of this wood while endeavoring to im- 
press upon the minds of our readers its adaptability for the purposes here- 
in cited. The groundwork of ash is produced by using a little chrome or 
Rochelle yellow, together with the least possible tint of red, to which add 
a trifle of Vandyke brown. But little of this must be used or the ground- 
work will be too gray. The color when mixed must compare with the 
lightest shade found in the wood itself. The ground-work must be loft 
with the egg-shell gloss, spoken of in our former chapters. Ash being a 
very porous wood, the pores, therefore, must, in no case, be left out in the 
graining, otherwise the work will be incomplete, and for the purpose of 
producing those take one-half raw umber, one-fourth raw sienna, and one- 
eighth Vandyke brown ; grind all in ale, etc., and apply the same, using 
it very thin, and whipping it thoroughly, as instructed in directions per- 
taining to rosewood, etc. 

For the second coat, or oil-graining, use the same colors in about the 
same quantities, ground in oil, turpentine, wax, etc., as mentioned in 
graining other woods. The same rules as to graining black walnut — dark- 



THE ART OF GRAINING. 19 

ening the centre a little, and having the grains lose themselves at the sides 
or ends — are applicable in the graining of ash, and the same tools should 
also be used in the graining of this wood as are used in that of black wal- 
nut ; the hand should run the same as in graining walnut, and the grains 
should run with equal regularity. In shading, the same colors may be 
used, adding a little more Vandyke brown, and grainers, particularly in 
shading, should study to imitate nature itself in each particular. Of 
course the colors should be so mixed and strained as to avoid the possi- 
bility of their containing harsh or lumpy substances, so that the work will 
prove to be clean, smooth, and free from any cloudy or impure ap- 
pearance. 

It can be finished in varnish, or in oil, the same as other woods here- 
tofore named. 



20 THE ART OF GRAINING. 



CHESTNUT 

Is largely used, and, like ash, is a particularly beautiful wood. Becom- 
ing so well and favorably known for the various purposes to which it 
can be applied, grainers should study well its beauties, and in their imita- 
tion thereof strive to hold the mirror up to nature. The ground-work 
of chestnut is produced with the same class of colors as that of ash is, only 
a little more Vandyke brown should be employed, to produce a more 
grayish tint than is found in ash. 

Though chrome is used in the ground-work of chestnut, we deem it in- 
ferior to Rochelle yellow, inasmuch as the latter has a more subdued shade, 
in nearer conformity to chestnut, than that produced by chrome, the latter 
giving the work a more sprightly hue than is observable in the wood 
itself. Chestnut is very porous, or rather it shows a more porous condition 
than ash itself, and to produce this there should be used a little raw um- 
ber, raw Sienna, burnt umber, and Vandyke brown, in nearly equal parts, 
ground in ale, giving the work a very thin coat, and whipping coarsely, so 
that when done the pores will show very plainly. For the second, or oil- 
graining, use the same colors, in the same quantities, ground in oil, tur- 
pentine, wax, etc., as before instructed. Grain on much the same 
principle as in ash, only coarser, — the grains in chestnut running much 
coarser, but yet with the same regularity as those found either in ash or 
black walnut. For shading chestnut use a little burnt umber and Van- 
dyke brown (rather more of the former), to which add a small quan- 
tity of raw Sienna, grinding them in oil, turpentine, etc. In applying this 
color have it very thin, as in other grainings, and as chestnut is a plain 



THE ART OF GRAINING. 21 

wood, presenting a great uniformity of color in itself, great care must be 
taken to avoid any material change in the appearance of the graining by 
any heavy shades. 

This rule, it will be observed, is in this regard dissimilar from that 
laid down to govern the graining of ash, as the latter presents in nature 
many heavy and eccentric shades, etc., while in the former there is very 
little diversity in the shade. The same process of wiping out and darken- 
ing the centre is applicable to this wood as that set forth to govern in the 
cases of walnut and ash, similar combs and tools being used in the work 
upon each and all ; and, like the other woods, chestnut can be finished in 
oil or varnish, as heretofore noted, and when finished is substantial in 
appearance and very beautiful. 



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